If the "improvised new" improvisational experience has established on the basis of the contribution of Representative in the writing of the text, the play "How wonderful that they watch" for the newborn based on the basis of loyalty to public involvement in the writing of the text through what Ertgelh in width.
If the Almertjlat crystallized the "clash of theaters" - as embodied by the different perspectives of the practitioners of the theater - the play and Walid loyalty to diagnose this Aba p as reflected in perceptions of the spectators. So, they are trying to answer the fundamental question is: what he wants the viewer of the theater?
Begins the play "How wonderful that they are watching," a man of trying to engage the public in the theater of improvisation theater compensate the offer was due during the evening, but for that the marriage of one of the actresses prevented it. Therefore, he proposed a theater
Algmehoralamsahma in creating alternative offer. Spectators will respond, in fact, with this proposal and begin to engage in an atmosphere of the play taking advantage of the opportunity to reflect on their attitudes and perceptions about the theater and function.
In this context, the four characters involved in a sequential manner in the offer are: watch the first, second, third and fourth. Valmtfarag first Abu Abdu Al-Najjar believes that theater is for fun and entertainment, making it is proposed that the story of the lovers spend the night in love and continual. The viewer sees the second, in contrast, the theater and it has a historic responsibility to present the greatness of past glories and heritage. As a result of this difference between the two points of view of spectators intellectual conflict reached an acute level of violent confrontation.
The third spectator, the father of generosity amateur actor who specializes in entertainment roles, he emphasizes that the theater does not need ideas, but to the moves to get the laugh. Then, starting in the tradition of some of the roles such as the ruler of how cynical the Ottoman and the lame and the beggar.The fourth presents the spectator himself as a citizen feels the pain of the homeland, and calls for the need to face the truth and expose the corrupt phenomena in society. For this, the - through the diagnosis of a scene between the two dolls are Karagoz and Aioaz - addressing the social issue is the smuggling of money and wealth Illicit.
Due to the intensification of the dispute between the four spectators, the man of the theater's initiative to call young men and boys from the public in order to involve them in the show together. Through dialogue Tmahorhol case the dream and reality, and mixed with the fact representation; broke the love affair between the young and young boys, and the play became a tool to uncover the truth of both. Automatic participation of spectators in acting quickly will be born with a limit of "strong man" who intervened to end the improvised scenes and ordered the closure of the curtain.
Notes, therefore, that the story of the play is based on the actions of dramatic personalities connected directly related to practice the play: the man of the theater and Spectators. On the basis of concordance in attitudes and conflicts between the intellectual audience, the play is trying to establish Mtejelha. The man of the theater, it intervenes in the conflict as directed first to play Meneur de jeu And, secondly, as a rule the guidance and education norms and values that promote the theatrical stage.
The play "How wonderful that they are watching" is undermining the play's perspectives in order to build a holistic perspective of an alternative based on clear principles. In other words, the collective improvisation of the spectators is a translation of the chaos of the play to be a system alternative. Walid and if we have inspired loyalty to the saying of the French theater director Louis Jouvet Louis Joffe To the effect that "every system is not based only theater major chaos".
Alternative system in the play "How wonderful that they are watching" is a man of letters, which reflected the theater, which seems aware of the cultural foundations of art, theater, arguing that the theater is the dialogue, and dialogue is democracy. This selection, which finds his authority in the Greek context, it is matched at the level of play by the rules advocated by the man of the theater, which reflects the saturation Shearia Aristotelian. He believes that the theater did a simulation of reality, and examples Idéalisation Him as well.
To stand a close eye on this perception, La Paz to evoke a theater parking is discussing perceptions of the audience and suggestions. In the context of commenting on the fourth spectator who emphasized the need to face the truth with courage, he says:
"A man of the theater: This is not to say Okhalvk the opinion, but the public came to see here really is, facts represented by the acts of a play. Event and dialogue, people struggling for the victory of the value of what is absent or reveal the truth"
This comment draws all the basic concepts underlying the Aristotelian poetic. Valmsarh action, and action drama based on the simulation, and simulation is formed during this event and dialogue, and the basic rule of all this drama is the conflict between the characters.
In the same context, the man of the fourth stage of the spectators:
"A man of the theater: theater event ... We want and we want a new vision, we look forward to the art of draw of reality and laws, for example. We want to put together the idea step by step".
The question of extraction laws and ideals of reality evoked the fundamental concept in poetry is the Aristotelian concept of "examples". Indicates Jean-Jacques Robin "to the artwork shows the model either Bomthelth, or replicated identically, or distort. The formula Bturagidea, for Aristotle, should be the examples. Hero must be offered outside the daily life of the spectators". If we look at what the man of the theater will notice that it inspired this visualization. It is consistent with the need to expose the spectator corrupt phenomena in society, but he believes that this should be a way how to play simulated moving Tamthelh not literally.
Perhaps this vision is the same relationship that frame the stage of history in the eyes of a theater. Through discussion of the position of the second spectator who looks at the theater as a historical responsibility, and he offered to past glories, he says:
"A man of the theater: the question is how art can be employed with the past for the future". Fastrjaa history in the theater is not an end in itself, but rather a means to illuminate the present and envisioning the future. To achieve this, the inevitable arms consciously poetic art is governed by possibility and necessity.
Clear, then, that the analysis of a stage for the perspectives of spectators in the light of Aristotelian poetic, character education has been taken directly explained by cultural norms (dialogue, democracy) and technical (the act, simulations, examples) for the theater. But loyalty to Walid, in contrast, work on the diagnosis of these situations in ways that play, by adopting the multiplier Allobeih that allow the creation of different levels of representation, and thus the integration plays a minor Micro-pièces In the play, including the Great: a play Karagoz and Aioaz dolls, and play the young boys, Almadmjtin in the play, he plays a major role of the man who directed the stage play.
The opening of the theatrical play in the text, "How wonderful that they are watching" is consistent with the nature of improvisation on which the text and makes it a field for the production of various speeches and conflict perspectives and multiple methods of diagnosis. In other words, the text weaves a network of positions, or create "chaos play", and is trying to establish "rules of theater" on the ruins.
However, it is noted that the system is based on the moral values of democracy, and technicians on the noodles Aristotelian, he himself is threatened with collapse, not from a purely aesthetic values, but from the political values or authoritarian.
Valmsarhah put us in the end, about the confrontation between the power of art and the power of political violence. Reflects the power the first man of the theater, which speaks on behalf of the values of technical, ethical and clear, and the symbol of the Second Authority strongman show Slokath (refusing to provide the same, trying to keep a theater movement of his hand, carrying a stick and Ahtmaah two men Qasien) and speeches (he says he wants to put an end to an old story obsolete perhaps the story of the same scene at the end of the day) to being a force and violence and wants to confiscate Bastamalhma stage (ordered to close the curtain).
We understand from this confrontation, that Walid believes that loyalty to the fundamental issue of the theater is not only aesthetic perspectives in a conflict, but is also the relation of theater statesman. The introduction of personal strong man, in the end, it means that the establishment of a theater can not be done only in the political system. So, if the play is trying to consolidate the values of humanity believes in the human right to express himself and his being dependent on improvisation as a basic vehicle, the strong man is the story of the theater should be disposed of obsolete, which means the confiscation of this human tendency reflected in theatrical improvisation.
It follows from the above, that the practice Almitamsrahih in the text of Walid loyalty to faces numerous: the face of explanatory sheds light on the nature of the recipient playwright and analyze his view of watching the play, and the face of cash is the demolition of perceptions of the play list, including those that see that theater entertainment or a historical responsibility, and the establishment of the theory inclusive rather than them, is based on the principles of moral, artistic and clear. Here, the theoretical side as long as the text holds an implicit theory about the theater is, in fact, reproduce the legacy of Aristotle. Above all, there is the face of ideological creation correspond between human and inhuman; carried by the human dimension of collective improvisation in the play as an automatically self-expression and a desire to consolidate the individual being, as carried by the theater, which hosted a stage. The dimension of the inhuman Faeksh strong man and his followers as symbols of a society based on control and domination and violence, renounce theater as art to establish the
Of democracy.
التسميات
education